A gang of neo-fascist thugs, led by the self-proclaimed ‘Night Slasher’, are breaking into people’s homes & cars, then killing them at random. When of of these thugs holds up a food store & takes hostages, Lt. Marian Cobretti – an intense, take-no-prisoners cop, is brought onto the scene to end the hostage-taking. Ranting bizarrely about a ‘New World’, the man levels a sawed-off shotgun at Cobretti, who hits him with a knife, then guns him down when the man refuses to put down his weapon. Later that night, another murder occurs, attributed to the Night Slasher – and the next day, another one. This one is witnessed by a young woman, Ingrid Knutsen. She drives away before the thugs can kill her, but it isn’t long before some creepy-looking people start making attempts on her life – and Cobretti’s. Cobretti plans to move the only witness to the blood spree upstate, but with inside information, the thugs follow them. And a battle for survival rages between Cobretti and the thugs..
George Pan Cosmatos (January 4, 1941 in Florence, Italy – April 19, 2005 in Victoria, Canada) was a Greek/Italian film director. After studying film in London, he became assistant director to Otto Preminger on Exodus (1960), Leon Uris’s epic about the birth of Israel. Thereafter he worked on Zorba the Greek (1964), in which Cosmatos had a small part as Boy with Acne. Cosmatos grew up in Egypt and Cyprus and is said to have spoken six languages. He was famous in Italy for the movies Rappresaglia (1973) with Marcello Mastroianni and The Cassandra Crossing (1976) with Sophia Loren. In 1979, he made the famous and successful World War II adventure movie Escape to Athena, starring a gigantic all star cast including Roger Moore, David Niven, Telly Savalas, Elliot Gould and Claudia Cardinale. Cosmatos was nominated for a 1985 Golden Raspberry Award for his role as director of Rambo: First Blood Part II starring Sylvester Stallone. He also directed another Stallone vehicle, Cobra, in 1986… read more
Terrible acting, dialogue and action scenes. Just about everything misfires in this mess of a movie. Despite this there is a handful scenes (mostly montage scenes without dialogue or plot) where the 80's aesthetic really shines and brings the movie close to Michael Mann's Miami Vice territory. There is also a great score by buried under all the pop songs. Still, a fun curiosity.
One of the best and most beautiful action films ever made. Typically 80s. Timeless. Aesthetic wise the 80s are still the future.
Slick, stylized, fascist garbage. Severely lacking the heart of Stallone's personal projects, and devoid of the brilliant satire of the first Dirty Harry installment. Certainly enjoyable in some fashion, as the 80s action aesthetics provide an archaic, fascinating formal approach to the story.